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Auto-blending real focus


Photoshop CS4 One-on-One: Mastery

with Deke McClelland

Video: Auto-blending real focus

All right gang, let's go ahead and automatically blend these various photographs here. They are all found inside the Video awards sub-folder, inside the 28_auto_align folder and I'm looking at the images in the Bridge. I'm going to press Ctrl+A or Command+A on a Mac to select all six photographs of the seven awards and one palm tree and then I'm going out to the tools menu and choose Photoshop and choose once again Load Files into Photoshop Layers and then you'll just have to let Photoshop do its thing, it's got to build the layered file as you can see. It goes pretty quickly though. A lot quicker than doing it yourself, that's for sure.
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  1. 21m 20s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 24m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 34s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 35s
    8. Importing an image into a 3D scene
      5m 46s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 8s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 55s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 55s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 33s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 42s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 52s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 39s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 43s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 51s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 52s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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Watch the Online Video Course Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the Online Training Library®.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Design Photography
Deke McClelland

Auto-blending real focus

All right gang, let's go ahead and automatically blend these various photographs here. They are all found inside the Video awards sub-folder, inside the 28_auto_align folder and I'm looking at the images in the Bridge. I'm going to press Ctrl+A or Command+A on a Mac to select all six photographs of the seven awards and one palm tree and then I'm going out to the tools menu and choose Photoshop and choose once again Load Files into Photoshop Layers and then you'll just have to let Photoshop do its thing, it's got to build the layered file as you can see. It goes pretty quickly though. A lot quicker than doing it yourself, that's for sure.

And now we have the Hermes focused photographs here on top. That's Seven awards1 and then the palm tree focused photograph down at the bottom. That's Seven award6. Now what do we do? Well, even tough these photographs were captured with a tripod, there is a fair amount of slight wavering going on from one image to the next. And to see that I'm going to go ahead and Alt-click or Option-click in the eyeball for Seven awards1, which is also selected, and then I'll press Alt+Left Bracket or Option+Left Bracket to move down the stack and you could see, already there, we are actually magnifying the scene just ever so slightly, and then we are going in a little more and then we are tilting a little and that one actually looks remarkably like the previous one, and then we are going in even a little farther.

So there is a little bit of variation, but this is a kind of variation that the Auto Align command can handle. It slight for one thing, but also there is no differences in perspective. So I'm going to go ahead and Alt-click on the eyeball Option-click in the remaining eyeball to show all of the layers. Then I'm going to press Ctrl+Alt+A or Command+Option+A to select all of the layers and let's go up to the Edit menu and we'll start with Auto Align Layers and it will come up and say blah, blah, blah. And we'd just say OK, as long as Auto is turned on. Then we say OK and then you wait for-- it's going to take a few moments of course to go through these various images.

Something I'll say while the progress bar is up on screen here is that I'm providing you with fairly low- resolution images. These are all 6 megapixel images, because they downsampled them from the original 12 megapixel images. Had we worked from the original 12, the progress bar would have been there much, much longer. So that's something to consider when you are working with these functions. Also, very common to get out of memory errors, especially during this next operation and what we are going to do is go to the Edit menu and choose Auto Blend Layers and what you want is stack images, because you are stacked on top of each other, this is not a panorama, and I'm going to recommend that you turn Seamless Tones and Colors off.

Now if you turn that checkbox on, then Photoshop is going to try to color correct each one of these images so that they match. But it only color corrects the portions of the photographs inside of the masked regions, it leaves the other portions of each one of the photos uncorrected, which makes for a big editing mess and because all these images already match each other in terms of color, at least they match each other well enough, I'm going to turn that checkbox off. It's still going to go ahead and mask every single one of the layers. So that's a good thing. So Stack Images on, Seamless Tones and Colors off, click OK. Now again we get a big progress bar, again if we have larger images, we would have even more computational intensity facing us here, but here is what I want to tell you. It's very common to get out of memory errors during these sorts of operations, especially if you heap on more images, or you've got bigger images or something along those lines, the Photomerge command will result in out of memory error.

If you get an out of memory error, what I recommend you do is quit the software, restart it and try again. Worst case scenario, restart your computer and try again. That usually solves a problem. Notice this is before, Ctrl+C, Command +C on a Mac, Hermes is in focus, but everything else is out of focus to some extent or other and this is after pressing Ctrl+C again. Oh, my gosh! Everything in this scene is in impeccable focus. It's just amazing. Now I'm going to zoom in here and you can see now, even that like the Hermes Creative Award was for the Photoshop CS3 Sharpening Image series and the Ava Award was for Photoshop CS3 Channels and Masks and then this one was for Channels and Masks, the DV award and then Telly award was for Photoshop CS3 Sharpening.

Do you see a pattern emerging? Those two series you really are ought to be looking at inside of the Online Training Library, if you want to look at award winning stuff. That said, there are some problems. For example, this rough edge right there, that's terrible and it's gone and revealed a soft portion of one or the other photographs, and that actually happened on this very top layer. So I'm going to select the top layer right there. And something I want you to see about Auto Blend is it makes these very jagged mask patterns and so wherever you seeing these pixel blocks emerge on one layer, they are turned off on other layers. So these things meet each other on a pixel by pixel basis.

It's pretty amazing. But as long as you don't go correcting the colors, as long as you leave that one checkbox off that we saw a moment ago and say the Auto Blend dialog box, then what you can do is you can come in with the Brush tool and I want my foreground color to be set to White. It is. And I've got the layer mask selected for Seven awards1 and I'll paint this corner of this table back in. You may see other things like some word sort of artifacts around the highlights at the base here that you can correct if you ever mind to. I think these are actually fairly subtle problems when you move out from the image, but this needs to be dealt with. You have to be able to see the name of the series that won the award. Good Lord! And my name of course.

All right, zoom out some more and I'm going to go up here a little bit. His thigh, I think, is actually is as focused as it gets, because it's kind of moving toward us. So it's already beyond the depth of field there. But these wings could be better, so I'm going to paint them in -- be careful to paint only inside of the wings, don't go outside, because you'll paint in the blurry wall like so, and you don't want that. You want the wall to stay in focus. So I'm going to paint just kind of to the edge of the wings here. You could use a softer brush than I'm using, I'm using a pretty hard brush at this point. It's fairly small as well and I'll just go in there and get as much as the wing as I feel like getting and painting inside of his face a little bit, although his face is in pretty good shape and then of course, we would move over to Seven awards2, because our friend Ava or whatever her name is has problems, so let's go ahead and paint in the center here and one of will be able to see Jacob taking the photograph right there. So you can see his knuckles and that's very important to see that photographer in the shiny objects, I always love that.

Go ahead and paint in the reflections better. This sort of thing. So you can get as detailed as you want to get, my friends. This, oh, this will never do, look at that fuzzy typewrite there, I think, let's see is that layer? It probably is they think I think the DV award is captured in Seven awards3 and so let's see if we can paint in the type a little better. So it's in nice sharp focus Oh, my gosh, my dear publisher, they need to have their name in focus as well and I'm noticing a problem with Hermes' legs. Let's go back to Hermes and paint the reflections in properly.

What is going on? Silly, silly Auto Blend. It doesn't get everything 100% right, but it's amazing, amazing, I tell you, how much it does it get right. Look at that scene, everybody in focus, oh my goodness. And of course the next thing I would do is go to the Crop tool. We haven't cropped any of the other images, but you would crop everything you Auto Align or Auto Blend, and you will grab that Crop tool and drag it around the portion of the image that you want to retain and I don't really want to see the fact that the base is hanging off the edge of this table.

We just didn't have a very deep table to work with here and we can crop off some of the palm tree. It's technically not an award after all. I crop inward a little bit there and I have Hide turned on, Shield is turned off just so as you know and then I'm going to press the Enter key or the Return key on the Mac and I'm going to press the F key a couple of times to fill the screen. Let's go ahead and zoom in, why don't we, so we can see these beautiful awards that are all in impeccably sharp focus thanks to a talented photographer of course, thank you Jacob Cunningham and Photoshop's amazing Auto Align and Auto Blend features working together with just a little bit of manual masking here inside Photoshop CS4.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery .

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Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
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